Master a mix with a real DSP chain — EQ, multiband compression, stereo width, limiting — and hit a LUFS target with level-matched A/B comparison.
The audio master runs a real mastering chain over your mix — EQ balancing, multiband compression, stereo width, and a limiter — and meters the result against a target loudness in LUFS, the unit streaming platforms actually normalise to. It's genuine DSP running on your own device, not a model guessing at a preset, and the A/B comparison is level-matched so you're judging the processing rather than just hearing "louder and therefore better".
It's for getting a mix release-ready when a mastering engineer isn't on the budget: hitting a sensible loudness for streaming, tightening the low end, and keeping true peaks under control so the track doesn't distort once it's encoded to a lossy format. Mastering is a final polish, not a rescue — it can't fix a mix that's fighting itself. How to normalize audio volume covers what the LUFS targets mean in practice.
No, and that's deliberate. Audio Master is a real DSP mastering chain — high-pass filtering, five-band EQ, three-band multiband compression, mid/side stereo width, and a limiter — the same signal path a hardware or plugin mastering setup uses. There's currently no trustworthy neural mastering model that can run privately in a browser, so instead of faking one, we built an honest chain that you can hear, understand, and control. For most tracks, well-set EQ, compression, and loudness matching is exactly what 'mastering' means anyway.
LUFS is the loudness standard streaming platforms use to normalize playback volume. Spotify and YouTube align tracks to around -14 LUFS, Apple Music to about -16; club-oriented masters are often pushed to -9 or louder. Picking a target sets the output gain so your track lands at that level, measured with the same ITU-R BS.1770 algorithm the platforms use — so your song won't be quietly turned down (or sound weak) when it goes live. The meter runs entirely in your browser.
Because it's level-matched on purpose. Anything louder almost always sounds 'better' to human ears, which is how bad mastering gets approved. The A/B toggle plays the original and the mastered version at the same loudness, so what you're actually comparing is the tonal balance, punch, and width — the real mastering decisions. The exported file still comes out at your chosen loudness target.
Pick the genre preset closest to your track — Warm for soul/acoustic, Bright for pop, Punchy for electronic/hip-hop, Vocal-Forward for singer-focused mixes, Flat for a neutral starting point — then choose the loudness target for where the track is headed. That alone gets most tracks 90% of the way. After that, tweak by ear with the A/B toggle: small EQ moves of 1–2 dB are usually all a decent mix needs at the mastering stage.
The chain ends in a limiter with a fast attack and a ceiling of roughly -1 dB, which catches peaks before they hit 0 dBFS — the standard headroom for lossy encoding down the line. Very aggressive settings (Club loudness on an already-hot mix) will drive the limiter harder, which trades dynamics for loudness; the level-matched A/B is the honest way to hear whether that tradeoff is worth it for your track.